Categories
TV

Rasbhari (2020)

As The Swivel Chair Spins #10

Yes, blame it on the virus. 

We should have gotten the warning when there was narration from the protagonist, but we went along. 

Amazon Prime’s latest series is a Meerut-set tale of teenage troubles and libidinous louts, it is one thing to generalize based on stereotypes, but it is completely another thing to reduce the entire city of Meerut into this this village of villains who are waiting for any woman (other than their wives) to appear. 

We start with the city because the narration too begins with the city, Meerut, just like every other small town in India, the voice says, now the scope of generalisation has been extended from one small town to all small towns in India. 

Ok, playing along, let’s just say we bought this narrative. Umm let’s say it’s a bit like magical realism where the entire town goes blind(!), or let’s just say it is like all the old men from the village who come to look at the teacher in Mundhanai Mudichu. 

There’s a teacher here too, an English teacher, played by Swara Bhaskar. Teachers in Indian film join the list of maligned professions owing to the inability of our makers to put pen or pencil to paper and think about writing actual characters. Teachers are either the strict and morally upright ones who teach students a thing or two or it is the generously minded and controversially dressed lady teachers who too teach students a thing or two (umm).

Swara Bhasker plays the second type, her appearance in the class creates a flutter among high school kids and her appearance in town, as discussed above, makes the men of Meerut into wolves with tongues wagging. While all this is played for comedy, we couldn’t sit and not wonder, what item of interest would follow in the rest of the seven episodes. 

Let’s try and keep it short, just because a web series is eight episodes long doesn’t mean our write-up should be too, in the remainder of the seven episodes what was truly lacking is the contrast. Not in terms of colors in the cinematography but in the colors of the characters. 

Humor and its popular uncontrollable cousin, comedy, comes from opposites, like to use an often seen example of a really large man being afraid; so if two sides to the same character do not contain these extremes then there is very little to play around with.

While the central character of Shanu Ma’am, if we could use the phrase,leaves a lot to be desired, then the series kinda makes up with the surrounding characters of Nand, Priyanka and we wanted more about them. While none of them get any close to arc, how Nand (Ayushman Saxena) and Priyanka (Rashmi Agdekar) move from awkwardness to mutual respect is one of the best transitions we have seen in sometime. The actors too are comfortable and maybe waiting for the story to turn their way. 

But alas Rasbhari, wants us to be interested in english teacher Shanu Ma’am and her sex obessed alter ego courtesan. Which is where it gets really confusing- the point where the teacher student fantasy ends and the social commentary begins. Maybe we should just applaud the makers intention to “excite” as well as “educate” us. The fantasy too doesn’t go the whole way for it to be classified as bold, but is definitely pictured in a way to be called as vague. 

If it is this type of fantasy that you are looking for over the weekend, maybe Amazon Prime Video is not the right site. 

Nevermind. 

Rasbhari in its entirety is streaming on Amazon Prime Video

Categories
cinema cinema:tamil

Siri On You Crazy Diamond

Crazy Mohan: A Remembrance

“Margazhi thingal!

Adutha line enna?”

“Margazhi sevvai”

I think my life changed when I picked up a cassette of Crazy Thieves in Palavakkam (CTIP) in a basement book store..

Ok strike that that out, life did change really and I would never be able to listen to Thiruppavai without a chuckle.

The golden age of Tamil Drama was well behind me, I have heard only stories- the ones I had listened (not seen) by that time featured Sve Shekar.

 Natakhapriya cassettes would be bought, to be exchanged with another friend who could recite “Alwa / 1000 Udhai Vaangiya Aboorva Sigamani” at will, when teachers looked the other way. I marveled at his ability.

But this Crazy Thieves in Palavakkam cassette was something different; it did feature Sve Shekar but claimed to have been written by Crazy Mohan. I never knew, honestly- a rare and perfect combination- the timing of Sve and the dialogues and situations of one Mr. Mohan, who I had known from multiple collaborations with Kamal.

By this time MMKR was curriculum.

Perfect because of the coming together of talents.Rare because this is the Tamil comedy drama equivalent of Eric Clapton playing with the Beatles and like ‘While My Guitar Gently Weeps’ it was pure gold; there was a joke in every line, hell there was a joke even when there were pauses. It was that good.

Within 5 minutes I knew that this would trounce”Alwa” or such in any discernable comedic aspect and I took it upon myself to memorize it and became a quoting repository.  Despite the cassette being a live scratchy recording complete with a wailing kid and continuous laughter probably from the seventies!

I didn’t know it was Mohan’s first play and I didn’t realize its importance, then.  

Oh I love the movie dialogues, don’t get me wrong- but I believe everything started from this heist comedy at Palavakkam. Mohan had the ability to begin with situations that seem quite normal – like for example the perpetually jobless hero (Uppili) but add increasingly crazy elements to it.

In Crazy Mohan’s world situations are more important than the story, the situations that are formed in his head knows no bounds because imagination does not come with an input cost.

A character reading the newspaper is his favourite and I know translating into English won’t help, but nevertheless will attempt.

<Situation: Kuppusamy is convincing Sudarsanam to purchase a house in the outskirts of Chennai and asks his son, the foolish Uppili to read aloud a particular advertisement from the newspaper>

Kuppusamy: Uppili come on read the advertisement from the paper’s 4th page

<pause>

Kuppusamy(dissing his son) : Do you know number 4? It is the number that comes after 3

<Mild laugh>

Uppili: OoooOooo number 4? I thought the one that comes before 5

<Still more laughs>

Uppili continues: Nonsense Appa, do you think I don’t even know 4.

<Pause>

I have studied till SSLC

<Pause>

I can count till 10

By this time the whole auditorium is laughing. Also count me giggling with my Walkman on multiple train journeys, this was my Hamlet. I should internalize it.

 Uppili then goes on to read murder stories and inappropriate advertisements for the next five minutes till they come back to the situation of buying the house.

Uppili continues to my greatest hero- he says the most random things-makes insane movie references- and is a master in irritating others and doesn’t really want to work. It’s probably Sve’s best role and he carries the persona into his other plays, but albeit without Mohan’s situations and the dialogues.

Personally, CTIP is worth obsessing over for a lifetime(again, my Hamlet). It features kind thieves- a kidnapping gone wrong- deaf assistants and literally a Vinayakar Ex Machina and countless jokes in between. The fact that Uppili thinks Sholay is a Malayalam film is absolute looool material.

Mohan would also take many things with him from CTIP to the movies, including ‘Ekalyvan’, a reference which would continue till his last collaboration with Kamal(Vasool Raja MMBS). It is a work which will sow the seeds for many Crazy variants.

Has there been a more fruitful writer-star combination (well Kamal is not just a star) than that of Kamal and Crazy?

There have been and will be too- many impactful working relationships, but I doubt if there would be anything that would reflect the quality with which Kamal and Crazy would produce.  All 11 of them gems, designed to appeal to different types of humor seekers; there can be no one clear favorite.

Come to think of it, most of the stories that Kamal would have pitched Crazy are inherently sad ones and heavy drama material that could on any day fit Kamal’s serious part of the filmography

  • Panchatantiram: hero is unable to overcome the separation from his wife
  • Avvai Shanmugi:  hero somehow wants to win back his child
  • Kadhala Kadhala: two orphans must succeed in life to help other orphans
  • Thenali: hero is unable to come to terms with the reality of losing his homeland

Amazing how they developed situations over each of these- they throw in some Wodehouse-there’s some classic Hollywood screwball- and some Keaton/Lloyd/Chaplin-there’s some Nagesh too. It’s a professional relationship made in comedy heaven. They literally completed each other’s sentences.

Mohan would continue to be one among many of the crown jewels at Kamal’s RKFI court contributing to other movie discussions.  

Just a crazy thought/prophecy: MMKR will live forever and when the future cineaste digs up the others in the list is bound to be surprised.

“They made MMKR and made these too? Mind-blowing”

A body of work which is also a gift that keeps on giving (laughs).

Will we find someone crazier?

 But that how do I know sir?

Thank you Mohan for being Crazy.